Inkspot 41 by Australian Cartoonists' Association

abwac.org.au

Official Electric Basoon of the Australian Cartoonists' Association

Number 41, Winter 2004

THE REUBENS Calling for submissions!

CRICKET CARTOON AWARDS

2004

REPORT

PLUS! 16th ROTARY

AWARDS

The Life and Times of

Paul Rigby

FIRST EVER WA PRODUCED INKSPOT!!

PLUS!!

A VISIT FROM TOM RICHMOND OF the

National Cartoonists Society

..AND TERRY CHRISTIEN OF the

Cartoonists’ CLUB OF

GREAT BRITAIN

President's Parlay Stanleys 2004 is well down the organizational Tom Richmond

SINCE 1924

Inkspot

Number 41 : Winter 2004 www.abwac.org.au ( (02) 9601 7688

ACA Board

top but paddling like blazes underneath. In the coming months you will receive a registration brochure and full details of what is planned for “Stanleys in the Highlands” during the

first weekend in November in picturesque

babble, goss and unenviable grammar

Bowral. For now I can tell you a winery and

makes its way to you from the dry and dusty mid-west and the smoggy, (“hazy” as the locals

Secretary Steve Panozzo (02) 8920 9996 secretary@abwac.org.au

LCD in Kansas City with the best intentions

describe it) car-clogged west coast of the USA. I began optimistically trying to put pixels to of meeting Jason’s deadline and by doing so silencing his gnashing teeth and bleating pleas for copy. I am a wiser man for the futile attempt which has taught me that such a task,

Vice Presidents Roger Fletcher (NSW) (02) 9604 9216 nsw@abwac.org.au

is bordering on the Herculean, when a Reubens

Vane Lindsay (Vic/Tas) (03) 9523 8635 vic@abwac.org.au

adventures so I’ll leave it to him. I will take

Gary Clark (Qld) (07) 3353 0422 qld@abwac.org.au

Gary Clark, and Sean Leahy to publicly thank

John Martin (SA/NT) (08) 8297 8516 sa@abwac.org.au

jovial staff at Universal Press Syndicate and the

Greg Smith (WA) (08) 9409 5026 wa@abwac.org.au

the four of us feel an important part of their

ABN 19 140 290 841

opportunity to attend a Reubens’ weekend,

Inkspot is produced four times a year by the Australian Cartoonists’ Association.

grab it with both hands, it’s an experience

PO Box 318 Strawberry Hills NSW 2012

duck-on-the-pond routine, looking calm on

his month’s collection of presidential

President James Kemsley (02) 4871 2551 president@abwac.org.au

Treasurer Mick Horne (08) 9527 3000 treasurer@abwac.org.au

track with the steering committee doing the

weekend is the backdrop for those intentions. Broels, elsewhere in this issue, shares our the opportunity however, on behalf of Peter, NSC President Steve McGarry, his Board, the many, many scribbling colleagues who made cartooning family. Should you ever have the

that will last a lifetime… it’s also a great tax deduction!

antiquarian bookshop tour, a welcome cocktail party and cricket cartoon exhibition opening in the Bradman Museum, the inaugural Bunker Cartoon Gallery Wall of Fame inductees, a mini-trade show, a cartoonists’ cricket match on the hallowed turf of Bradman Oval and a farewell barbeque are just a few of the events planned to complement our 2004 AGM, conference and awards. The night itself will see a Leak/Brown encore! With all our 2003 sponsors returning along with a number of welcome newbies we can promise you a memorable time at an affordable price. BUT this year get your forms in EARLY! At the risk of sounding like coach-tour salesman, spaces are limited. It is doubtful any late minute “walk-ups” will get a guernsey this November. In the last issue of Inkspot you will recall I wrote about the agreement with Viscopy that the ACA entered into. Members were given the choice to individually opt out of any involvement, should they wish, by the April

There’s a sweet irony that I am currently

30 cut off date. With only one exception, and

ACA AFFILIATED ORGANISATIONS

sitting in an Anaheim hotel, in front of a laptop,

that by a member I understand had already

National Cartoonists Society

tapping this out with that monotonous soft

signed with the collection agency prior to the

click. I am, after all, on the American west coast

Club negotiating the blanket deal, the full

and about to email this to the Australian west

membership “opted in” and the wheels are

coast for the “Collector’s Edition” WA issue of

now spinning down in Viscopy’s Surry Hills

our Club’s magazine. Thanks to the crew over

offices to see who is due a share of the lazy

in Perth, especially editor and designer Jason

cash snoring in the bureaucrats’ coffers.

President Steve McGarry Secretary Rick Kirkman www.reuben.org

Cartoonists’ Club of Great Britain President Graham Fowell Secretary Richard Tomes www.ccgb.org.uk

FECO

President General Roger Penwill Secretary General Peter Nieuwendijk www.fecoweb.org Australia Post Registration PP 533798/0015 Inkspot Boffin: Jason Chatfield Inskpot Profraeder: Steve Panozzo Inkspot contributors:

James Kemsley, Peter Broelman, Mick Horne, Steve Panozzo, Vane Lindsay, Rolf Heimann, Greg Smith, Tom Richmond, Terry Christien, Richard Newcombe, Dr. Leigh Summers, Gary Clarke, Ian Thomas, Michelle Baginski, Bob Hay, Daniel Zachariou, Phil Faigen, Judy Horacek, John Martin, Lisa Mackay-Sim, Michael Collins & Dean Alston

Cover caricature by Dean Alston

Chatfield as well as Sandgroping ACA legends Mick and Smithy. It only took eighty years to produce a West Oz mag but I hope you agree the wait was worth it.

Finally it’s great to know that in our 80th year the ACA is going from strength to strength both financially and membership-wise. Your membership renewal remains pivotal to the

Yes, this year the ACA, through a few name

future of the ACA and I encourage you to take

changes, turns 80 on July 17. Each State chapter

advantage of the offered discount available for

will hopefully organize a local celebration and a couple of beers while the Club as a whole will hold back marking the occasion until Stanleys 2004. For the moment though I’ll sip my Bud Lite and toast your health and the longevity of the world’s oldest cartoonists’ organization.

Cheers! 2

renewals made before July 1. Fraternally et al,

CONDITIONS CONDITIONS OF ENTRYOF ENTRY CONDITIONS ENTRY You must beOF a full of the 1) You must1) be a full member of member the CONDITIONS OF ENTRY CONDITIONS OF Association ENTRY Australian Cartoonists’ and Australian Cartoonists’ Association and CONDITIONS OF ENTRY 1) must a member of 1) You You must be be a full full member of the the have your 2004/2005 financial year memhave your 2004/2005 financial year memAustralian Cartoonists’ Association and 1) You must be a full member of the 1) You must be a fullCartoonists’ member of the Australian Association and bership fees paid in full. Please note that bership fees paid in full. Please note that have your 2004/2005 financial year memAustralian Cartoonists’ Association and Australian Cartoonists’ Association and have your 2004/2005 financial year memall memberships expire July 1. If you all memberships expire on July 1.on IfPlease you AUSTRALIAN bership fees paid in full. full. note that CARTOONISTS' have your 2004/2005 financial year memhave your 2004/2005 financial year membership fees paid in Please note that have notfees renewed your membership this have not renewed your membership this all memberships expire on July 1. If you bership paid in full. Please note that ASSOCIATION bership fees paid in full. Please note that all memberships expire on the July 1. If you year for 2004/2005 can not enter the year for 2004/2005 you can expire notyou enter have not renewed membership this all memberships on July 1. If you expire on July 1.your If you The Australian Cartoonists’ Association is The Australian Cartoonists’ Association is all memberships have not renewed your membership thissubStanley Awards. Full Membership renewals can be subStanley Awards. Full Membership renewals can be year for 2004/2005 you can not enter the have not renewed your membership this have not renewed your membership this year for 2004/2005 you can not enter the now calling for submissions for the 20th now calling for submissions for the 20th The Australian Cartoonists’ Association is mitted with your Stanleys entry. A membership renewal mitted with your Stanleys entry. A membership renewal The Australian Cartoonists’ Association is 2004/2005 Stanley Membership renewals be subyear for 2004/2005 you can not enter the can year for youAwards. can not Full enter the Stanley Awards. Full Membership renewals can berenew subThe Australian Cartoonists’ Association is will be included for all members who are yet to form will beform included for all members who are yet to renew Stanley Awards. Submissions are collated Awards. Submissions are collated TheStanley Australian Cartoonists’ Association is now calling for submissions for the 20th mitted with your Full Stanleys entry. Abe membership renewal Stanley Awards. Membership renewals subAwards. Full Membership renewals can A sub- can be now calling for submissions for the Stanley 20th mitted with your Stanleys entry. membership renewal membership. membership. now calling submissions forare the 20th and published in the annual ACA Year and published inAwards. thefor annual Year now calling for submissions forACA the 20th form will be included all who to renew mitted with your entry. Arenewal membership renewal Stanley Submissions collated mitted with your Stanleys entry.Stanleys A for membership form will be for all members members who are are yet yet to renew Stanley Awards. Submissions are collated 2) Allincluded work must submitted must profession2) All work submitted have been have professionmembership. form will all are members whobeen are yet to renew Stanley Awards. Submissions are collated form will be included for be all included membersfor who yet to renew Book, representing cartoons, comic Book,Awards. representing cartoons, comic Stanley Submissions are collated and published in the annual ACA Year membership. and published in the annual ACA Year ally published ally published between July 1, 2003 and June 30, 2004 between July 1, 2003 and June 30, 2004 2) work submitted must have been professionmembership. membership. 2) All All work submitted must have been professionand in ACA the annual ACA Year strips, caricatures and illustrations pubcaricatures and illustrations pubandstrips, published inpublished the annual Year Book, representing cartoons, comic and must be accompanied by proof of publication. Selfand must be accompanied by proof of publication. SelfBook, representing cartoons, comic ally published between 1, 2003 and June 30, 2004 2) All work submitted must have been profession2) All work must have July been ally submitted published between July 1,profession2003 and June 30, 2004 Book, representing cartoons, comic lished over the past year. The categories lished over the past year. The categories Book, representing cartoons, comic published entries are not acceptable. Work on personal published entries are not acceptable. Work on personal strips, caricatures and illustrations puband must be accompanied by proof of publication. ally published between July 1, 2003 and June 30, 2004 strips, caricatures and illustrations pubally published and between 1, 2003 and June 30, 2004 must July be accompanied byare proof of publication. SelfSelf(or non-commercial) websites notof acceptable. (or non-commercial) websites are not acceptable. acceptable. strips, caricatures and illustrations pubfor the Stanley Awards are: for the Stanley Awards are: strips, caricatures and illustrations published over the past year. The categories published entries are not Work on personal and must be accompanied by proof publication. Selfand must be accompanied by proof of publication. Selflished over the past year. The categories published entries are not acceptable. Work on personal 3)enter You may enter TWO categories with page 3) You may TWO categories with page over theThe pastcategories year. The categories (or are non-commercial) websites are notone acceptable. published are not acceptable. Work onone personal lished over lished the the past year. published entries notentries acceptable. Work on personal for Stanley Awards are: (or non-commercial) websites are not acceptable. for the Stanley Awards are: per category. Work not incategory its proper category will per category. Work not included in included itsTWO proper will 3) You may enter categories with one page (or non-commercial) websites are not acceptable. (or non-commercial) websites are not acceptable. for the Stanley 3) appropriate You may enter TWO categories with one Book page for the Stanley Awards are:Awards are: have the category assigned by the Year have the appropriate category assigned by the Year Book per Work not in its proper category will 3) You may enter TWO with one page 3) You may enter TWO categories withcategories one ARD CATEGORIESsub-committee. AW STANLEY STANLEY AWARD CATEGORIES per category. category. Work not included included in its page proper category will sub-committee. have the appropriate assigned by the Year Book per category. Work included in its proper category will per category. Work not included in not itscategory proper category will have the appropriate category assigned by the Year Book TEGORIES ARD CA W ANLEY A ST 4) All entries must be electronic submissions on 4) All entries must be electronic submissions on STANLEY AWARD CATEGORIES sub-committee. have the appropriate category by the Year Book have the appropriate category assigned by theassigned Year Book sub-committee. TEGORIES ARD CA W ANLEY A ST correct sized pages. If you have difficulty is arranging correct sized pages. If you have difficulty is arranging TEGORIES ARD CA W ANLEY A STComic 4) All All entries entries must must be be electronic electronic submissions submissions on on Comic Strip Artist Strip Artist sub-committee.sub-committee. 4) scanning and emailing contact the ACA. scanning and emailing contact the ACA. correct pages. If you difficulty is arranging 4)sized Allbe entries must behave electronic on An artist whose published body An artist whose published body of work is of a work is a 4) All entries must electronic submissions onsubmissions correct sized pages. If you have difficulty is arranging Comic Strip Artist 5)sized E-mail submissions are Ifpreferred. If chose 5) E-mail submissions areIfpreferred. you chose Comic Strip Artist scanning and emailing contact ACA. correct pages. you have difficulty is you arranging correct sized pages. If you have difficulty isthe arranging primarily multi-panel sequential comic cartoon primarily sequential comic cartoon scanning and emailing contact the ACA. Comic Artist An whose published Comic Stripmulti-panel Artist must 600 dpicontact (tiff). are B/W entries NOT be B/W it mustB/W be it600 dpibe (tiff). B/W entries must NOT must be An artist artistStrip whose published body body of of work work is is a ascanning 5) E-mail submissions preferred. If you scanning and emailing the ACA. and emailing5)contact the ACA. E-mail submissions arework) preferred. If youitchose chose strip, adventure orof illustrated comic strip. strip, whose adventure or whose illustrated comic strip. An artist published body of work is a primarily multi-panel sequential comic cartoon An artist published body work is a greyscale. If you chose greyscale (for colour work) must greyscale. If you chose greyscale (for colour it must primarily multi-panel sequential comic cartoon it 5) must be 600 dpi (tiff). B/W entries NOT be E-mail submissions preferred. If you chose 5) E-mailB/W submissions are preferred. Ifare you chose must B/W must be 600 dpi (tiff).Submissions B/W entries must NOT be primarily multi-panel sequential comic cartoon be a 300 dpi be a itfile 300 tif file ordpi jpeg. also on tif ordpi Submissions can(for also becan on strip, or illustrated comic strip. primarily multi-panel sequential cartoon strip, adventure adventure orcomic illustrated comic strip. greyscale. Ifjpeg. you chose greyscale colour work) itbe must must be 600 (tiff). B/W entries NOT be B/W it must beB/W 600itdpi (tiff). B/W entries must NOT be must greyscale. If you chose greyscale (for colour work) it must Editorial Cartoonist Editorial Cartoonist disk. Colour entries at 300 dpi will also be accepted. disk. Colour entries at 300 dpi will also be accepted. strip, adventure or illustrated comic strip. strip, adventure or illustrated comic strip. be a 300 dpi tif file or jpeg. Submissions can also on greyscale. If you chose greyscale (for colour work) itbe must greyscale. If you chose greyscale (for colour work) it must be 300 dpi tifreproduced file orgreyscale jpeg. Submissions can alsowill be on willdpi beentries as greyscale BUT be They will They be aareproduced asor BUT willcan be An artist whose published body work is political An artist whose published body of work is of political Editorial Cartoonist disk. Colour at 300 dpi will also be accepted. 300 tif file jpeg. Submissions also be on be a 300 dpi tifbe file or jpeg. Submissions can also be on Editorial Cartoonist disk. Colour entries at ACA 300on dpi will also be accepted. published online in colour the ACA website. published online in colour on the website. and/or social satire in cartoon form. and/orCartoonist social satire in cartoon form. Editorial Cartoonist They will be reproduced as greyscale BUT will be disk. Colour entries 300 be dpiaccepted. will also be accepted. An published Editorial disk. Colour entries at 300 dpi willatalso They will be reproduced as greyscale BUT willyour be An artist artist whose whose published body body of of work work is is political political 6) be All entries muston bethe accompanied with 6)They All entries must becolour accompanied withwebsite. your Itand/or can be either single frame orform. comic strip. It canwhose be either single frame orinwork comic strip. published online in ACA will reproduced as greyscale BUT will be An artist whose published body of work is political They will be reproduced as greyscale BUT will be social satire cartoon An artist published body of is political published online in colour on the ACA website. and/or social satire in cartoon form. name, address, contact telephone number, e-mailwith address name, address, contact telephone number, e-mail address 6) All must be accompanied published in ACA colour on ACA website. online in colour onentries the website. and/or social satire in cartoon It be either single frame comic and/or social satire cartoon form. 6)online All entries must bethe accompanied with your your It can can in be either single frame or orform. comic strip. strip. published and website. and website. name, address, contact telephone number, e-mail address 6) All entries must be accompanied with your Single Gag Cartoonist Single Gag Cartoonist 6) All entries must be accompanied with your It can beframe either or single frame name, address, contact telephone number, e-mail address It can be either single comic strip.or comic strip. 7) Please identify caricatures 7) and Please identify caricatures by adding by theadding the website. address, contact telephone address,name, contact telephone number, e-mail number, address e-mail address An artist whose published body An artist whose published body of work is of a work is a name, and website. Single NOTE: “Live” caricaturists subject’s name withinidentify your page. NOTE: “Live” caricaturists subject’s name within your page. Single Gag Gag Cartoonist Cartoonist 7) Please caricatures by the and website. and website. 7) aPlease identify caricatures bybeadding adding the primarily single frame, non-editorial/political primarily single frame, non-editorial/political Single Gag Cartoonist An artist whose published body of work is a Single Gag Cartoonist may make submission however their entry will not the be may make a submission however their entry will not An artist whose published body of work is a NOTE: “Live” caricaturists subject’s name within your page. 7) Please identify caricatures by adding 7) Please identify caricatures by adding the NOTE: “Live” caricaturists subject’s name within your page. landscape or portrait panel gags. A cartoonist landscape or portrait panel gags. A cartoonist An artist whose published body of work is a for the Stanley Awards. eligible for eligible the Stanley Awards. primarily single frame, non-editorial/political An artist whose published body of work is a primarily single frame, non-editorial/political may a however their entry will not NOTE: “Live” caricaturists name within your page. NOTE: “Live” caricaturists subject’s name subject’s withinmake your page. may make a submission submission however their entry willthe not be be cannot enter theframe, same feature both the Comic cannot enter the same feature innon-editorial/political both theinComic 8) The Year Book sub-committee reserves 8) may The Year Book sub-committee reserves theentry right will primarily single landscape or primarily single frame, non-editorial/political eligible for the Stanley Awards. make a submission however notright be landscape or portrait portrait panel panel gags. gags. A A cartoonist cartoonist may make a submission however their entry will their not be eligible for the Stanley Awards. to entry rejectitfor any entry it not feels does not with thethe rules. to reject any feels does comply withcomply the rules. Strip and the Single categories. Strip and Single Gag categories. landscape or the portrait panel gags. A cartoonist cannot same feature in the landscape or the portrait panel gags. AGag cartoonist 8) The Year Book sub-committee reserves right eligible Stanley Awards. eligible for the Stanley Awards. cannot enter enter the same feature in both both the Comic Comic 8)the The Year Book sub-committee reserves the right 9) By entering the Stanleys the artist gives 9) toBy entering the Stanleys the artist gives cannot enter the same feature in both the Comic reject any entry it feels does not comply with the 8) The Year Book sub-committee reserves the right Strip and the Single Gag categories. cannot enter the same feature in both the Comic 8) Theto Year Book sub-committee reserves the right with the rules. reject any entry it feels does not comply rules. Strip and the Single Gag categories. ACA to publish his/her work tothe promote permissionpermission ACAany tofor publish his/her work to promote Caricaturist 9) By entering the Stanleys artist gives tofor reject entry feels does not with rules. thecategories. Single Gag categories. to reject any entry it feels notit comply with thecomply rules.the StripCaricaturist and the Strip Singleand Gag 9)does By entering the Stanleys the artist gives Australian cartoonists and cartoons in ACA publications Australian cartoonists and cartoons in ACA publications permission for ACA to publish his/her work to promote 9) By entering the Stanleys the artist gives An artist whose published body of work is pubAn artist whose published body of work is pub9) By permission entering the Stanleys artist gives Caricaturist for ACA to publish his/her work to promote Caricaturist and website. ACA will not publish for financial gain any and website. ACA will not publish for financial gain any Australian cartoonists cartoons in for ACA toand publish work publications to promote lished caricatured likenesses. of work is published caricatured likenesses. permission for permission ACA to publish his/her work tohis/her promote Caricaturist Australian cartoonists and cartoons in ACA ACA publications An Caricaturist artwork without the express permission of the artist artwork without the express permission of the artist An artist artist whose whose published published body body of work is puband website. ACA will not publish for gain Australian cartoons in financial ACA publications Australian cartoonists andcartoonists cartoons inand ACA publications and website. ACA willwith not publish for financial gain any any An artist whose published body of work is published caricatured likenesses. An artist whose published body of work is pubCopyright will reside withfor the artist. concerned.concerned. Copyright will reside the artist. lished caricatured likenesses. artwork without the permission of the and website. ACA will not publish financial gainartist any and website. ACA will not publish forexpress financial gain any artwork without the express permission of the artist Humorous Illustrator Humorous Illustrator lished caricatured likenesses. lished caricatured likenesses. 10) The date July 31,the 2004.of the artist 10) The closing dateclosing isthe July 31, is 2004. concerned. Copyright will with artwork without express artwork without the express permission of permission the concerned. Copyright will reside reside with artist the artist. artist. An artist whose published body work is pubAn artist whose pubpublished body of work is of Humorous Illustrator Humorous Illustrator 10) The closing date is July 31, concerned. Copyright will reside with the artist. concerned. Copyright will reside with the artist. 10)GUIDELINES ThePAGE closing date is July 31, 2004. 2004. lished humorous illustration to newspaper/magalished humorous illustration to newspaper/magahumorous illustration for newspaper/magazine YEAR BOOK GUIDELINES YEAR BOOK PAGE Humorous Illustrator An Humorous Illustrator The closing is July 31, 2004. An artist artist whose whose published published body body of of work work is is pubpub- 10) The closing10) date is July 31,date 2004. The format the 2004 is A4. SubmisThe YEAR formatBOOK of the 2004ofYear Book Year is A4.Book Submiszine articles, books, etc. Work zine articles, books, advertising etc. is Work articles, books, advertising etc. Work deemed to An artist whose published body of work is published humorous illustration to newspaper/magaAn artist whose published body of advertising work pubPAGE GUIDELINES lished humorous illustration to newspaper/magaYEAR BOOK PAGE GUIDELINES sions are allocated one half of aYear page. Your artwork must sions are allocated one half ofof aGUIDELINES page. Your artwork must deemed to besingle-gag, political, single-gag, caricature, or deemed tolished be political, or be humorous political, single-gag, caricature orcaricature, comic strip humorous illustration to newspaper/magaThe format the 2004 Book is A4. SubmisYEAR BOOK PAGE zine articles, books, advertising etc. Work lished illustration to newspaper/magaBOOK PAGE GUIDELINES The format of the 2004 Year Book is A4. width Submiszine articles, books, advertising etc. Work YEAR be arranged to fit between a maximum page of be arranged to fit between a maximum page width of comic strip based not be for this or The format strip based will notpolitical, bewill eligible foreligible this based willbooks, not be eligible for this category sions half a page. Your must Theallocated format ofone the 2004 Book is artwork A4. Submiszine articles, advertising etc.caricature, Work of are the 2004 Year Book isof A4. Submisdeemed to single-gag, zinecomic articles, advertising etc. Work sions are allocated one half of aYear page. Your artwork must deemed to be bebooks, political, single-gag, caricature, or and a to page depth of 110mm. There is a title strap 180mm and180mm a page depth offit110mm. There is a title strap be arranged between a maximum page width sions are allocated one half of a page. Your artwork must category. category. one half of Your artwork must page width of tosingle-gag, be political, single-gag, or are allocated comic strip based will not be for deemed to bedeemed political, or caricature, beyour arranged toafitpage. between a Please maximum of comic strip based willcaricature, not be eligible eligible for this thissions to go above your submission. ensure you have to go above submission. Please ensure you have 180mm and a page depth of 110mm. There is a title strap be arranged to fit between a maximum width of be arranged to fit between a maximum page width of page comic strip based will not be eligible for this 180mm and a page depth of 110mm. There is a title strap category. comic strip based will not be eligible for this supplied the correct details: name, There telephone number, supplied the correct details: name, telephone number, category. to go above ensure have 180mm and pagesubmission. depth of 110mm. is a you title strap 180mm and a page ofayour 110mm. There is aPlease title strap General General Illustrator toemail. godepth above your submission. Please ensure you have category. Illustrator category. website and email. website and supplied the correct details: name, telephone number, to go above your submission. Please ensure you have to go above your submission. Please ensure you have supplied the correct details: name, telephone number, An artist whose published body of work is pubAn artist whose published body of work is pubGeneral The Year Book is in published in white. black and white. The Year Book is published black and General Illustrator Illustrator website and supplied the email. correct name, telephone number, supplied the correct details: name, details: telephone number, website and email. lished non-caricatured portraits realist reprelishedIllustrator non-caricatured portraits and realist repreGeneral Illustrator You may indicate onBook entry ifwas yourpublished work wasand published You may indicate onand youremail. entry ifyour youris work An artist artist whose published body and of work is pubpubGeneral An whose published body of work is The Year published in black website website and email. The Year Book is published in black and white. white. sentations, metaphoric sentations, stylized orstylized metaphoric illustrations. colour. in colour. in An artist whose published body of illustrations. work is published non-caricatured portraits and realist repreAn artist whose published body oforwork is pubYou may your ififand your work was published The Yearon published in black white. lished non-caricatured portraits and realist repreThe Year Book is published in isentry black You may indicate indicate onBook your entry yourwhite. work wasand published lished non-caricatured portraits andillustrations. realist representations, stylized or metaphoric lished non-caricatured portraits and reprein colour. You may indicate entry your work was published You may indicate on your entry if on your work wasif published sentations, stylized or realist metaphoric illustrations. If wish to page have ayour non-competitive entry, inyou colour. Your finished on computer may sent to: Your finished page on computer disk may bedisk sent to: be please DigitalorIllustrator Digital Illustrator sentations, stylized orillustrations. metaphoric illustrations. in colour. sentations, stylized metaphoric in colour. indicate clearly when submitting. An artist whose published body of work is pubAn artist whose published body of work is pubYour Digital Your finished finished page page on on computer computer disk disk may may be be sent sent to: to: Digital Illustrator Illustrator Youron finished pagedisk on may computer disk lished digitally-generated artwork. lished digitally-generated artwork. Your finished page computer be sent to:may be sent to: Digital Illustrator An artist whose published body of work is pubDigital Illustrator An artist whose published body of work is pub- ACA Stanleys ACAPO Stanleys PO Box 580 Box 580 An artist whose published body of work is pub- Elizabeth, Elizabeth, lished digitally-generated An artist whose published body of workartwork. is pubSouth Australia 5112 South Australia 5112 lished digitally-generated artwork. ACA Stanleys PO Box 580 NOTE: Full can opt toartwork submit their artwork NOTE: Full members canmembers opt to submit their for the Year for the Year ACA Stanleys POto Box 580 to stanleys@abwac.org.au lished digitally-generated artwork. lished digitally-generated artwork. youStanleys can e-mail your entry or you can or e-mail yourSouth entry stanleys@abwac.org.au NOTE: Fullchose members to submit artwork for the Year Book andmay NOT to be their aentry. competitive entry. Any such entries Book and NOT tochose beopt a competitive Any such entries Elizabeth, Australia ACA PO Box 580 ACA Stanleys PO Box 580 Elizabeth, South Australia 5112 5112 NOTE: Full members can opt to submit their artwork for the Book choose it NOT to be competitive entry. Any such NOTE: Full members opt towill submit their artwork the Year Year will beformarked accordingly and not be considered eligible for will beand marked accordingly and willacan not be considered eligible for for or you can e-mail your entry to Elizabeth, 5112 Elizabeth, South Australia 5112Australia or to you can South e-mail yourBroelman: entry to stanleys@abwac.org.au stanleys@abwac.org.au Book and chose NOT to be a competitive entry. Any such entries NOTE: Full members can opt to submit their artwork for the Year NOTE: Full members can opt to submit their artwork for the Year entries will be marked accordingly and will not be considered NOTE: Full members can opt to submit their artwork for the Year Book and chose NOT to be a competitive entry. Any such entries All enquiries to Peter 08 8255 9939 All enquiries Peter Broelman: 08 8255 the Stanley Awards. Instead thatwill submission will be considered the Stanley Awards. Instead that submission be considered or you can e-mail your entry to 9939 stanleys@abwac.org.au or you can e-mail your entry to stanleys@abwac.org.au will be marked accordingly and will not be considered eligible for Book and chose NOT to be a competitive entry. Any such entries Bookeligible and chose NOT to be a competitive entry. Any such entries for the Stanley Awards. Instead that submission will be Book chose NOT to be a competitive Any such entries will beand marked accordingly and will not artist’s be entry. considered eligible forvia the email an acknowledgment record ofwork. that work. an acknowledgment and record ofand that artist’s or via the email address. or address. All the Stanley Awards. Instead that submission will will be marked accordingly and will not be eligible All enquiries enquiries to to Peter Peter Broelman: Broelman: 08 08 8255 8255 9939 9939 considered an acknowledgment and of that artist's work. will be marked accordingly and will not berecord considered eligible for will be marked accordingly and will not be considered considered eligible for for the Stanley Awards. Instead that submission will be be considered considered an and of that work. or via the email enquiries to address. Peter Broelman: the Stanley Awards. Instead that be All enquiries toAll Broelman: 08 8255 9939 08 8255 9939 the Stanley Awards. Instead submission will be considered stanleys@abwac.org.au theacknowledgment Stanleythat Awards. Instead that submission will be considered considered an acknowledgment and record record ofsubmission that artist’s artist’swill work. orPeter via the email address. an record of via the email address. an acknowledgment and record of thatand artist’s work. or via the emailoraddress. an acknowledgment acknowledgment and record of that that artist’s artist’s work. work. 3

THE 2004 NCS Peter Broelman, editorial cartoonist for the APN group of newspapers, is the ACA membership secretary and a former editor of Inkspot. The report covers the 2004 Reubens weekend which took place from May 28 – 31.

The parallel between the Aussie Stanleys and Yankee Reubens is uncanny- a bunch of anything-goes cartoonists rocking up for a big, no-holds-barred (or no-bars-holed) celebrationary, backslapping, chesthugging, “great-to-see-you-again” weekend. It’s no surprise that the word “fraternal” is thrown around by NCS President Steve McGarry with reckless abandon, as these cartoonists know how to make the most of it.

quality and standard of Australian talent. This was complimented by half a dozen copies of the Year Book and information leaflets being passed around the auditorium. We then each took turns in presenting our own work, my APN editorial cartoons, Clark’s “Swamp”, Leahy’s editorials and “Beyond The Black Stump” Rube Goldberg strip and finally Kemsley’s “Ginger Meggs”. With a healthy Q&A period after all had been said and done, the sixty minutes quickly passed. I have to say the NCSers were enthusiastic about the presentation, the work they saw and the Aussie scene… they must have been as all the Year Books were souvenired and each of us were photographed and waylayed by groups and individuals after the presentation with more questions. Kemsley was even bought a beer by one enthusiastic Aussiephile!

Like the Stanleys, the Reubens is comprised of basically two parts; the hard-grind industry conference (“convention” in that part of the world) and the swank awards ceremony, with a smattering of cocktail parties thrown in for good measure. The big difference between them and us is the scale of it all. The NCS’s main focus is the syndication business, which is comparatively non-existent in Australia. The US syndicates put up the sponsorship dollars and the networking begins. It’s not so much a free-for-all for cartoonists to show their wares, though a bit of that does go on, but rather a chance to put faces to names and an opportunity to get a feeling of the American comic business in which a lot of Aussie cartoonists would like to get involved.

“Mutts” creator Patrick McDonnell followed the Aussie assault and “MAD”’s legendary Mort Drucker rounded off Friday’s conference agenda to a packed house.

Gary Clark, Peter Broelman, James Kemsley and Sean Leahy discuss pre-Reuben tactics at Downtown Disney.

For Leahy it was his first Reubens’ weekend, Clark his second in ten years, and the third in a row for Kemsley and myself. We were given an hour on Friday morning’s convention bill to inform, educate, and generally amuse the rest of the delegates about the ACA and the Aussie comic/cartoon scene. With the modern wonder of Power Point we assembled an e-presentation featuring a broad selection of artwork from the 2003 Year Book with ACA President Kemsley spruicking and promoting the diversity,

Peter Broelman 4

REUBEN AWARDS Yet another cocktail party kicked off the actual Reubens (who said cartoonists didn’t drink?) before MC Dan Pirarro (creator of “Bizzaro”), dressed as Wyatt Earp- we were in the midWest after all- took to the stage singing a rousing countrystyle rendition of something taking the piss out of Kansas City, coincidentally Cartoonist of the Year, Greg Evans his birth place, and his fellow cartoonists. As he did last year he slayed the huge ballroom audience and seems to have cemented the prestigious compere job for a few years yet. The entertaining evening was all over by midnight, probably too quick considering the huge amount of work, enthusiasm and preparation put in by the NCS Board.

Aided by UPS staff, dressed in 1920’s period costume, cartoonists and partners were given free range of the company’s modern facilities that included head-honcho John McMeel’s state of the comic-art office, complete with a selection of original Bill Wattersons, a massive Pat Oliphant oil-on-canvass and toilet with a view over the city. Not a bad gig! James Kemsley

Afterwards, the “official” welcome cocktail party back at the Fairmont Hotel became a full-on and fun karaoke contest into the early hours of Saturday morning. Where the shy and retiring Aussies erred on the side of vocal caution, the same couldn’t be said for McMeel, “The Simpsons’” art director David Silverman, LA Times’ Michael Ramirez and scores of locals, many of whom demonstrated that while they had gallons of bravado, had only a few drops of singing talent, giving truth to the old gag that “karaoke” is Japanese for “tone deaf”. Some degenerates then retired to McGarry’s plush presidential quarters to raid his overstocked, gratis bar and sing crude, rude and childish songs until sunrise. My vocal chords have since recovered.

Former Aussie resident Greg Evans (see Inkspot #40) snagged the major gong for his United Media syndicated strip “Luann”. It was Evans’ sixth nomination that finally brought him the USA’s highest cartooning accolade.

The remainder of Saturday morning was a good opportunity to sleep in while others, less lucky, had to conduct official NCS business meetings… their version of our AGM but surprising very well attended… so I’m told.

The quietly spoken Evans was obviously surprised and clearly overcome by the long overdue peer-recognition when accepting the large gold statuette from legendary inker Mort “Beetle Bailey” Walker, so much so that in keeping with his reputation for being a cartoonist of few words invited wife Betty to the stage to deliver his acceptance speech. The noisy acclamation in the packed Fairmont Hotel ballroom was testament to the couple’s popularity and confirmation the ballot had delivered the right result.

The Saturday afternoon conference featured Hallmark greeting cards star Sandra Boynton, who brought the house down with a humorous presentation and Jules Feiffer who displayed his editorial work, illustrative creations, panels AND his screen/playwright achievements, which were received with a standing ovation – a busy schedule indeed.

NCS President Steve McGarry nibbles on Mell Lazarus’ earlobe

Art director of MAD Magazine Sam Viviano and MAD artist Tom Richmond

With gongs safely stowed away, dinner jackets removed and bow ties loosened, a large group retired to yet another private cocktail party (complete with a thick-necked, rarely smiling, armed guard on the front door) to acknowledge nominees, winners and those who worked on the Reubens weekend and, as it turned out, to watch the sun creak though the Kansas City skyline and slide up over the brown Missouri horizon.

THE RESULTS: Cartoonist of the Year: Greg Evans Milt Caniff Lifetime Achievement Award: Jules Feiffer Editorial Cartoons: Tom Toles

Sunday was all-round recovery time before NCS Past President and elder statesman Mell Lazarus was honoured with a roast that evening. Pirarro again led the charge with Cathy “Cathy” Guisewite, Bil “Family Circus” Keane and Jerry “Baby Blues/Zits” Scott with Rick “Baby Blues” Kirkman singing a rousing rendition of a song about nothing rhyming with Lazarus. A “Perfect Match” send-up showed that grown men dressing up in women’s clothing isn’t just the domain of “The Footy Show” and that it tickles the US’s funny bone as much as it does the Aussies’.

Newspaper Panels: Jerry Van Amerongen (“Ballard Street”)

The Reubens weekend was again a worthwhile experience for the visiting “fraternal” Aussies, with some pencillingin 2005 already taking place. While on a smaller scale, the Stanleys are comparable to the fun NCS members enjoy once a year, so, if you think you’ll never make it to the Reubens, scribble-in the Stanleys at Bowral in November this year!

Comic Books: Terry Moore: “Strangers in Paradise”

Greeting Cards: Glenn McCoy Newspaper Illustration: Bob Rich Comic Strips: Stephan Pastis (“Pearls Before Swine”) Magazine Feature/Magazine Illustration: Hermann Mejia Book Illustration: Chris Payne Advertising Illustration: Tom Richmond

Gag Cartoons: Jack Ziegler TV Animation: Paul Rudish: “Star Wars: Clone Wars” Feature Animation: Andrew Stanton: “Finding Nemo"

TAKE ME OUT TO THE BALL GAME

LEAHY’S JOURNEY CONTINUES BEYOND THE REUBENS.

A spare afternoon allowed Daryl, Peggy and Buster

A recipient of a Churchill Fellowship to study animation, his itinerary includes meeting the production crew of “The Simpsons” in LA before travelling to San Francisco, New York and London as part of a 5-week tour. Look for a full report of his Odyssey in an upcoming issue of Inkspot.

Cagle to chaperone the Aussies to a ballgame between the Kansas City Royals and the Minnesota Twins. The Aussies stuck with the home team. They lost. Royals fans asked us to never return to Kansas City ever again. While walking through Kansas City, Kemsley and Broelman stopped into an ice-cream parlour to stock up. A middle-aged couple, pro-Bush, noticed the accent and thanked us for sending troops to Iraq. They turned

The 2003 Stanley recipient must surely hold the record for productivity. To get ahead of deadlines before flying to the US, the Queenslander completed 25 comic strips in one day! Rumours that he photocopied the same art work and just changed the tag are false.

out to be newspaper publishers from South Dakota. They were politely informed that many Australians disagreed with the

PM John Howard visited California at the same time as we did but you wouldn’t have heard about it. News broadcasts ignored his visit, no one else knew about it and those few who did couldn’t care less.

war and that many more

were

anti-Bush. And

The Reubens is a black-tie event, something Leahy forgot. So when he turned up in an open-necked green shirt he was promptly pulled over … by Lee Salem, Executive Vice-President and Editor of Universal Press Syndicate of all people! With the help of a Creators Syndicate sales rep he was quickly able to rectify his casual down-under appearance.

so went any opportunity to get Ginger Meggs into their pages.

Gary Clark

CONFESSIONS OF A THEME PARK CARICATURIST This Season's NCS Contributor is MAD Magazine's Tom Richmond Tom Richmond has been a professional cartoonist, caricaturist and humorous illustrator since 1989, and is a regular contributor to MAD magazine among other clients. He was honored and humbled to win a divisonal Reuben award for advertising illustration from the National Cartoonist Society at the 2004 Reubens. However he was highly disappointed that James Kemsley, president of the ACA, never bought him a beer the entire weekend!

iven time to reflect, I think nearly everyone can pinpoint a few moments in time where something happened that had an enormous impact on their lives. In terms of my eventual job (or lack thereof depending on your perspective) as a cartoonist and humorous illustrator, that moment happened in 1985 while I was a freshman at the University of Minnesota, USA. I was skipping a particularly pretentious art class called “Alternative Sculpture”, and as we all know any art class with the word “alternative” in the title is a likely class to skip, when I happened upon a flyer in the studio arts commons area with the headline “can you draw?”. It seemed the company who posted the flyer was looking for artists to draw caricatures at a local theme park that summer. Well, being young, confident and stupid I thought I could draw pretty well, and I sent in some samples and arranged a meeting with the caricature company to procure summer employment. I brashly showed samples of various celebrity caricatures I’d kicked out the night before my interview, fully expecting an immediate and enthusiastic offering of a job.

What transpired that summer, a direct result of my skipping that class and seeing that flyer, changed my professional life and gave me the direction I was seeking. I learned two important things: I discovered I loved the art of caricature, and I also discovered I was far from a good artist. I had the privilege of working with some veteran caricaturists that summer who went on to become very successful magazine and book illustrators, comic book artists and

I was summarily rejected. That did not go as well as I had expected. I was only 19 and had no real direction in my life other than I knew I wanted to be an artist. That had been my goal since I first started drawing as a kid, copying Batman comics from cover to cover. I wasn’t really focused on comic book art as a career, or any other kind of art, and that was the problem. I only vaguely knew what caricature was, I just thought it would be a fun summer job. This job was my first attempt at a commercial application for my artwork, and I’d failed before I’d even started. Then, many weeks later, I got a call from that same company. It seemed that someone had backed out, and I was offered a job after all. It was, however, not at the local theme park but at another about 650 miles away in Chicago. Undaunted, I packed up my dorm room and went to Chicago, knowing no one and not yet artistically ready to draw caricatures for money.

animators. I was in awe of their skills, and suddenly realized that this art thing wasn’t something that got handed to you at birth; it was something you had to work at… and hard. Fortunately, I still had plenty of young, confident and stupid left in me, or I might have thought myself incapable of ever reaching the levels of the artists around me. I also had a good dose of mid-west USA work ethic, meaning giving something only 110% was like taking a day off. Thanks to that summer of inspiration, perspiration and humble pie, I now had a form of art to focus on, and a somewhat clear path ahead of me. I was going to be a magazine illustrator, with a specialty in caricature. At least that was the plan. I worked very hard on my caricature skills that summer. In my research on great caricature artists I rediscovered MAD Magazine. I had loved MAD as a kid, as most kids do at one time or another, but never before really understood how incredible the level of artwork was in that publication. Now, the work of Drucker, Davis, Wood, Torres, Viviano and others had a different and deeper meaning to me. I announced to the other caricaturists at the theme park that my goal was to draw for MAD!

That got a big laugh. I learned something else that summer. It’s the goal of virtually EVERY theme park caricaturist to draw for MAD Magazine. Maybe that’s why they all had copies of it in their backpacks and laying around their apartments. Oh, well. Young, confident and stupid was still going strong. I drew caricatures at that theme park near Chicago for four summers, and then moved my newly graduated self and my

Cont'd On Page 8 7

Cont'd from Page 7 new wife to Atlanta, GA to manage a caricature operation for that same company. My young, confident and stupid was starting to lose steam, and it was obvious to me that while I was showing a lot of improvement in my artwork I was nowhere near a level worthy of consideration for MAD, and so far I had only sent them one package of work, earning the first of several rejection letters. In the ensuing years I moved back to Minnesota to start my own theme park and retail operations, and gradually began to get some publication work, including in comics during the glut of the 90’s when work was plentiful for even novice artists. Some magazine work followed as my art improved, and eventually I had a steady clientele. MAD was still a distant dream.

I was summarily rejected. This seemed familiar. My young, confident and stupid was long gone, but something kept me going… belief in myself thanks to the encouragement of others. Charlie was very supportive, and Mort continued to encourage me. Eventually I showed my work to Sam Viviano, longtime MAD artist and now art director. Sam was also very encouraging, and after several submissions of work and a short stint at MAD wannabe Cracked magazine, I finally got that phone call and first job for MAD. Apparently MAD’s famously low standards had finally fallen so far that I was MAD material. I’ve been lucky enough to work regularly for the magazine ever since, eventually working up to the point of doing what I’d always dreamed of… movie and TV parodies. So, in a very real sense, I am living the dream of theme park caricaturists everywhere. Oddly enough, however, I am STILL doing caricatures in theme parks. I still own several operations around the US, and draw at them periodically throughout the summer. It is my secret weapon… there is no better way to sharpen your eye and skills than to draw quick, spontaneous caricatures from live models for hours on end. I used to get a lot of “you should draw for MAD Magazine” while working at the park. Now I get somewhat the opposite. One day last summer, a kid at the park accused me of ripping off MAD with a sample I had hanging up of Tom Green on the wall of our booth. “I saw that exact same caricature in MAD Magazine! You stole that!” he cried. “You did see that in MAD,” I replied, “but I drew it for them.” The kid was quiet for a second, and then he exclaimed: “Yeah… RIIIIGHT!” and walked away shaking his head.

It was in 1998 that another of those pivotal moments in time happened. My lovely wife and now mother of our 4 children gave me a very special 10th anniversary gift… a caricature of myself done by none other than the incomparable Mort Drucker. People

who know Mort will understand how rare something like that is… Mort as a rule doesn’t do personal commissions, and it was by chance, circumstance and the support of Mort’s wife Barbara that this happened, as a surprise for me, no less. As incredible as that gift was, it was nothing compared to what happened next. Having been sent samples of my work by my wife, Mort wanted me to call him and have a chat. He encouraged me to submit my work to MAD, and sponsored me for membership in the NCS. I attended my first Reubens in San Antonio in 1999, and showed my work to Charles Kochman and Nick Meglin of MAD!

Summarily rejected again! ~ Tom Richmond

CARTOONISTS' CLUB OF

GREAT BRITAIN

Thank you for the opportunity to contribute - what’s this, you’ve been established 80 years - surely not, that’s way older than Skippy by many generations! In the past I’ve exchanged mails with Steve Panozzo and embraced the effervescent enthusiasm of young James the Kemsley and Dean Alston whenever they’ve come over to see us. So, to continue the joining of fraternal hands across many oceans, I proffer some cartoon bites from the old country. Might as well ingratiate myself with this excellent host cartooning publication by saying, and I mean it, the overall standard and quality of cartoon art and graphic art too for that matter in Oz, is extremely high. Talking cartoon in particular, you’ve practiced and accomplished the art well - god love yuh!

After my innings (and I hesitate to use a cricket euphemism!) of eight years as Hon Sec of the Cartoonists’ Club of GB (quaint that GB bit isn’t it?) for my sins I am now Projects Officer, a newly found title which takes in all manor of flying fur and feathers - good in’it! I’ve been a member of the CCGB since 1988 and what a grand bunch of mates the guys and gals are - I’ve learned a lot and of course, extended contacts and friends like your good selves all over. Continued kind regards and best wishes

Over the years, wherever possible I’ve enjoyed putting forward a cartoon solution to solve design problems and concepts and I see it in your country to great effect. Do you think there’s any justification for thinking that the mere mention of being a cartoonist is not looked on as a proper job despite many people enviously wishing they were one of those too? We collectively

Terry Christien Projects Officer - Cartoonists’ Club of GB

I'm the one on the right, by the way

Terry Christien 9

Terry Christien

do an abnormal amount of navel gazing due to the art and therefore job enjoyment level. Of course there’s absolutely no justification at all but I remember being subjected to that feeling in my younger days. In the Autumn issue of Inkspot (love the masthead!), I see you reviewed Robin Hall’s book ‘Cartoonists’ & Illustrators’ - next to ‘How to be a brain surgeon - part 1’ as you’re poised with scalpel Robin’s book comes highly recommended to both budding and established cartoonists alike. As a contributor myself, I would say that wouldn’t I - but it adds a discerning and practical volume to our cartoon book shelves.

MARGARET RIVER CARTOONING WEEKEND 2004

An enjoyable time was had by a large contingent of WA ACA members on their recent Margaret River cartooning weekend. A bus was chartered, chalets booked and a posse of 17 gathered in the conference room at the Riverglen Chalets Margaret River. Red and white wine flowed as a number of speakers discussed various aspects of cartooning including marketing, computer skills, sourcing ideas and caricaturing. Special guest Paul Rigby spoke at length on his illustrious career and passed on some priceless tips and anecdotes to an eager audience.

The following morning the gang shook off the effects of the previous evening ( although Graham Lepage is still suffering from a bout of Tinnitus after sharing a chalet with Dave Gray and his sawn cello) and headed north for a whistle stop tour of the region which included a stop at the Margaret River Chocolate Factory and a compulsory visit to the Evans and Tate winery.

More photos from the trip can be viewed at: www.jasonchatfield.com We eventually arrived at the Wicked Ale Brewery Yallingup for the official opening of our exhibition ( WA INK: a collection of our most recent works) and a BBQ lunch. After three kegs of chili beer and a crate of Dirty Dan stout the crew was poured onto the bus for the long trip home. And what a long trip it was. A couple of hours from Perth the bus developed mechanical problems forcing it, and the driver, to breakdown just north of Bunbury. A mayday call was sent out and a camp set up on the side of the highway next to an amorous herd of Friesians.

We immediately ransacked the emergency supply of Cab Sav , “The Three Must-havebeers “ launched into a version of "The Roadhouse Blues”, and Kev our bus driver from hell skulled the last of his Prozac and called for another bus. Finally a buggered but contented lot of cartoonists arrived home around 2a.m.

Greg "Smithy" Smith is the WA Vice President of the ACA. He is the editorial cartoonist for several local WA newspapers.

Graham LePage

The evening was spent at a local restaurant discussing cartooning and downing copious amounts of the local drop and Guinness. Afterwards guitar virtuosos “The Three Must-have-beers“ (Michelle Baginski, Jason Chatfield and James Foley ) entertained the troops into the wee small hours back at the chalets.

That's News to Me

May 24th saw the Albury Border Mail become only the third major Australian daily newspaper to publish their comic section in full colour. The Canberra Times and the Launceston Examiner being the other two. The Griffith Area News, a thrice weekly publication, also have colour daily comics. The Border Mail increased their line-up from seven to ten strips. In the reshuffle losing three and taking on six new titles. Included in the revamped line-up are five by ACA members; Gary Clark’s Swamp, Tony Lopes’ Insanity Streak, Sean Leahy’s Beyond the Black Stump, James Kemsley’s Ginger Meggs and Steve McGarry’s Mullets. The first four are past recipients of the Stanley for Best Comic Strip. Imports Hägar, Crock, BC, Pooch Café and Garfield complete the page. Previously Swamp was the only Australian strip in the Border Mail’s comic pages though Lee Sheppard’s Cactus Island, Mark Lynch’s Clancy and Ginger Meggs were used in the Saturday edition.

Deputy editor of the Border Mail, Ken Dyason, told Inkspot “(he) was happy to be able to increase local comic content on their pages” and continued “The ACA magazine (Inkspot) and ACA web site were used as a reference during (his) decision making process.” The Border Mail follows the trend began recently by Wollongong’s Illawarra Mercury to increase the size of their daily comic section in order to attract new readers to the newspaper.

WICKING TOONS : CULTURAL HERITAGE ICON The ‘irreverent’ cartoons of Darwin-based editorial cartoonist Colin Wicking have be recognised as a ‘cultural heritage icon’ by the National Trust in the Northern Territory. After public nominations nine Territory ‘icons’ were chosen in all, ranging from Cyclone Tracy to Darwin’s famous Beer Can Regatta. Wicking is now in his sixteenth year with the Northern Territory News.

A Wicking 'Territorian'

RUSTY FILMMAKER National, refereed journal “metro” magazine is the first to publish the brand new cartoon strip “Rusty Filmmaker”, created by WA cartoonist Baggas (Michelle Baginski) and writer Cavan Gallagher. Rusty Filmmaker is a satirical strip that follows the misadventures of an incompetent filmmaker. The central character, Rusty Filmmaker himself, is the kind of overbearing, pretentious and ultimately clueless person every sane operative in the film industry dreads having to work with.

Bob Hay

nother WA cartoonist who has been involved in cartooning in Australia for the past 5 years, Bob Hay has recently developed a column that is suitable for weekly/monthly newspapers and magazines; combining what he writes with cartoons that he draws.

Although primarily aimed at those working in the film & television industry, hopefully everyone can identify with the strip through knowing similar people to Rusty, who believes he was born perfect and is too in love with himself to ever think he has to improve.

"The problem that I’ve found in Australia is that editors are used to getting either columns from a writer or cartoons from a cartoonist, but not both from the same person."

Just hating a character doesn’t necessarily make them interesting; the fascination often comes from a depth that lets us understand them despite ourselves, and it’s an element that Baggas and Cavan Gallagher are keen on developing in Rusty.

The column is about a recently separated male and his experiences in getting over it, then getting back into dating again. They are written as a serial, in a humourous manner, and are each illustrated with a single panel cartoon. There is an additional ‘banner’ cartoon that could be run with the column for ease of identification. Each column is about 900 words in length.

Baggas can be contacted via email at michellebaginski@hotmail.com or phone 0415 805 938

Baggas

"I’ve had a number of people review these columns/cartoons, and most, including Paul Rigby, find them quite insightful as well as funny. If you could offer any ideas/contacts for publishing these in Australia, it would be most appreciated."

Bob can be contacted via email at: bobhay@smartchat.net.au or Phone: 08 9245 5706.

If Rusty knew one thing, it was how to communicate with actors 11

Paul Paul Rigby Rigby The life and times of

“ A man with so much experience, he is a joy to listen to, and an inspiration to any budding cartoonist. Even those in mid-career would have a tinge of green in their eyes." This article is a précis of a magnificent career. And I’m sure many of his achievements would not have been possible without the dedicated support of his wife Marlene. " - Mick Horne

Like many at the time, Paul was a teenager when he was put into an RAAF uniform and sent overseas to play his part in World War II. He was on his way home at the end of hostilities when he disembarked from a troop ship in Fremantle. Paul liked the look of the place and thought he might like to return some day. After studying commercial art in Melbourne, he thought he would head for Europe. This was around 1949, and there would be many opportunities as various countries grew from the ashes to reshape their destinies. The trip to Europe failed to materialize when he ran out of money. He had only made it as far as Perth, and now a job was high on the list of priorities. Working as a commercial artist, it would be a couple of years before he got his big break. In 1952, Paul became the editorial cartoonist for Perth’s afternoon newspaper, the Daily News. He was part of the Arts and Crafts department, a close team of “characters”, who were known to frequent many of the nearby watering holes. After a “joyful” lunch break, some would go back to work and cover for those who did not. The Editor referred to them as the “Organized Hooligans”. Paul did not realize it at the time, but the 17 years he had in this job proved to be the foundation of a very successful career in the industry. Paul’s cartoon was prominent in each edition at the top of the back page, which he shared with columnist Kirwan Ward. This back page partnership was to spread across the globe as the pair set off on many dubious jaunts around the world. These were the famous “Walkabout” trips in which Paul and Kirwin would visit some of the most remote corners of the world, and send back stories and cartoons to the Daily News. Paul recalls many of these stories, but some can only be told over a cold drink in a quiet bar.

He figures he has done in “excess of 15,000 cartoons in his career. ”

Paul’s working conditions at the Daily News would definitely warrant a cartoon. His “office” was an enlarged broom closet beneath a set of stairs. From here, hunched up over his drawing board, he would produce many a masterpiece for the Perth public to enjoy. And yes, even the most prominent cartoonists have the occasional mental block when trying to develop a caption. He recalls one of these occasions when the Editor (the deadline past) was hovering and pestering him for the finished item. When he asked Paul about the caption, he swore at the Ed and told him (with much stronger language) to “get stuffed”. That day, the Ed had them run off the first 6 prints of the afternoons edition with Paul’s swear words as the caption. Everyone enjoyed a good laugh at the time, but unfortunately Paul didn’t keep a copy for himself. His famous trade mark of course was the little boy and dog who appeared in each of his cartoons. These tiny figures gave his readers additional entertainment as they tried to find them in each of his cartoons. On the rare occasions he left them out, the phones would run hot at the switchboard. They were never given names by Paul, but readers had their own names for the little boy. In Perth, the “Urchin” was the most popular. Paul said “I never really christened him. I guess he was just the little bastard. And the dog; well I guess it was just a dog with no name.” WA Cartoonist, Michael Collins (AKA Black Splash) 12

So impressed with Rigby’s prowess as a leading cartoonist (the winner of 5 Walkley Awards for “Cartoonist of the Year”), Rupert Murdoch “attracted” Paul to London in 1969 where he produced 7 cartoons a week for the London Sun and the News of the World. The popularity of his cartoons grew rapidly, and it wasn’t long before they were being used in English pubs as the basis for raffles. A cartoon would be cut up into 200 pieces and sold for 2 shillings a piece, with the pool going to the one who picked the piece with the dog on it. In the meantime, the Urchin had adopted his own English touch by donning an English bowler hat. Paul also did work for Germany’s Springer publishing company, his work appearing on a regular basis throughout Europe. In 1975 he returned to Australia and syndicated cartoons here and in the US. Murdoch purchased the New York Post in 1977 and enticed Paul away to the US to join the Post as the daily editorial cartoonist. He also contributed to the Star, a sister publication of the Post. 1984 saw Rigby (for ethical reasons) jump ship and take his pen and ink across town to the New York Daily News. Murdoch didn’t like this very much, and replaced Paul with Bay Rigby (Paul’s son). Bay was living at home with Paul and Marlene, and held the job for 8 years. When Bay left the New York Post in 1992, Paul took his old job back and stayed until retirement in 2000. "A great read!"

He enjoyed his time in New York, applying his cartooning wit to the varying cultural, social, and political scenes. Most of the politicians loved what he did, and rarely complained. One of his particular targets was the Mayor of New York, Ed Koch, with whom he socialized. Ed never complained, saying “it was Rigby’s job to do what he did”. But he did ask for the originals and of course, never paid for them. In 1999 he was visited by the Prime Minister John Howard and presented with the Order of Australia medal. He is also a recipient of the New York Post Press Club Page One Award (4 times), and the Press Club Presentation for the Graphic Arts.

In retirement, Paul and Marlene sold up in New York and moved to Florida. Florida did not provide the retirement ideal they had hoped for, and they started to look elsewhere. After much research, they settled for Margaret River, where they can be found relaxing in their lovely renovated weatherboard home on 5ha of land. The Margaret River region is well know for its fine wine production, and is about a 4 hour drive south of Perth. Surrounded by his paints and brushes, he could not be happier as he rediscovers the magic of colour. The Vasse Felix Winery was the venue for Paul’s extremely successful 50 Years Retrospective where he exhibited many original cartoons, and over 50 items of oil paintings, water colours, and ink on paper. That was in 2002, and its success is a strong motivator for his next exhibition this year at the same Winery. Rigby has come a long way since his days in Perth’s Daily News Arts and Crafts department, and he still carries a small note book with him for capturing that moment or idea. He figures he has done in excess of 15,000 cartoons in his career. Food for thought if you reflect back on Paul’s view of his early life in the art world when he said he was “born and sold into art slavery” "Ooops, midnight! Tools down everybc

Mick Horne is the current treasurer and stalwart of the ACA. A retired Aircraft Maintenance Electrician, he has held two editorial cartooning jobs and his work currently features on Perth’s A.B.C. radio website. 13

Reviews Kylie Timmins and Fiona Lee’s “Sushi Place” is delightful, with its tale of the travails of bunny Sensei Hinky and his fish sidekick, Soyboy (the eye-catching front cover to #4 is also by Lee). Another personal favourite is Rob O’Connor’s recurring slice-of-liff… er… life, strip, “Liff.” His sardonic spin on the everyday life with wife and kids is highly amusing. Scatological (but funny) humour hasn’t disappeared with the departure of Darren Randall (who appeared in #1 and #2), if Mark Upton’s “Anally Invasive Hamsters” in #4 is any indication. The brevity and humour of these short vignettes places many of the pieces in an area somewhere between comic strips and comic books. While they are often so short as to seem fleeting, their consistency is a tribute to the editors’ vision for this entertaining book.

The Crumpleton Experiments

Published by Nautilus Illustrations, Preston South, Vic.

25-27pg, Standard comic size, B&W (#1-4) $5 Reviewed by Ian C. Thomas

In “The Crumpleton Experiments” writer/illustrator Daniel Reed has created something truly original. The inventive approach of the story - with elements of Victorian horror, surreal art and outlandish pseudopsychology – makes for a weird but cohesive blend. The vision is unlike anything I’ve encountered in comics and is perfectly realized in Reed’s dexterous linework.

Sporadic

Published by Sporadic Press 28pg, A5, B&W (#1-4) $5 Reviewed by Ian C. Thomas Available at: http://www.jaseharper.com/comics.htm

The first issue opens in classic style, with the arrival of Wendy Brown at Professor Crumpleton’s. Seeing his work for the first time through her eyes eases the reader into Crumpleton’s bizarre world. It is a world of weird psychological experimentation that soon engulfs Brown herself.

It’s great to see a consistently strong anthology coming out on a regular basis. “Sporadic” is from Queensland and features a broad range of artists and styles. Diversity is the key to its success.

Crumpleton’s Dream-O-Matic allows its users to slip into people’s minds to observe their dreams first hand. Being a natural meddler (like all good scientists) he drags the physical realizations of their personal demons and grisly psychoses back into the real world, in the hope of bettering humankind. Naturally, this has some unforeseen consequences.

The cornerstone artists are Jase Harper and Jules Faber, along with a rotating cast of regulars. Their stories in the early issues tend to see Harper focusing more on the absurd, with his wild flights of humorous fantasy covering the social difficulties of a burning man, zombies, robot sex and floating into space. Faber’s contributions have tended to concentrate more on poignant autobiographical pieces, movingly recounted. With #4, the signs are that this may be changing, with Harper and Faber swapping places in terms of content.

The Professor himself bears a passing resemblance to Arthur Horner’s classic comic-strip character, Colonel Pewter, but there the similarity ends: both engage in strange and fantastic adventures, with humorous aspects, but “The Crumpleton Experiments” is much darker. In fact, the Gothic horror elements, and psychosexual imagery (in the latest issue), might make the book too dark for younger readers, though it’s a recommended read for teens and adults.

The many other artists all demonstrate totally different approaches to their material; such contrasts are one of the strengths of a good anthology comic book. Bram Jewsoure contributes well-composed, stylish pieces. His use of shaded greys in conjunction with black linework is a lesson in how well this approach can work. It’s a pity the page order of his “The Sky is Falling” in #3 is incorrect, leading to confusion and necessitating a continuity guide in #4 before this fable of people and aliens can continue, though it does so with great success.

While each issue stands alone, #2 and #3 work the elements into a two-part story, and #4 begins an even longer tale. Each story successfully breathes further life into Crumpleton’s strange world, building the peculiar 14

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cont'd. from page 14 elements, witty dialogue and intricate pictures into a convincing and compelling whole. The totally hand-drawn style, like the story, draws diverse elements together effectively: surreal visualisations of evil loom like the demons of a medieval fresco or painting by Brueghel, but they manage to look comfortable alongside the scientists, priests and other denizens of this Edwardian world. Overall, a consistently excellent, wholly original independent comic! See: http://www.crumpletonexperiments.org * Please note: The incorrect price was published for 'Terinu' in Inkspot #40 (Pg. 14).The Correct and current price is $5. (www.terinu.com)

Ian C. Thomas currently draws serials for 'The Ink' and manga comic, 'Xuan Xuan'. His earlier work includes 'Maelstrom', 'Reverie' and the 'Busker Jim' strip for Melbourne paper 'City Extra'

MASTER MASTERSTROKED AND ON THAT NOTE..

Peter Broelman

The Advertiser’s Michael Atchison has been announced as the inaugural appointee of the Hall of Fame in the S.A. Media Awards conducted by the Media Entertainment & Arts Alliance. Entry to the South Australian Media Hall of Fame is based on an individual’s longterm commitment and achievement in the media. Entry is open to individuals working in the media, from photographers and camera operators to artists, journalists, subeditors and editors. MEAA Branch Secretary, Dana Wortley, lavished praise on Michael who has worked for such auspicious publications as Britain’s Punch to Australia’s racy Man magazine, as well as newspapers ranging from Sydney’s Daily Mirror and the Sunday Advertiser (both now defunct) to The Advertiser where he started in 1967. “But at the age of 70 - and far from defunct himself - our appointee still explores the indiosyncracies of our politicians with a deft hand on a daily basis - he has cited amongst his favourite subjects Paul Keating, Bob Hawke, Don Dunstan, and Steel Hall, while sports personalities, film stars and just about anybody who finds themselves in the public spotlight can’t escape his attention”.

Local members of the ACA joined what felt like half the population of Adelaide at the opening of an exhibition of cartoons by Michael Atchison. The exhibition showcased work created by Michael over the last few years

As close as we got to the Chardonnay

although he has worked at the Advertiser since 1967, producing some 108,000 cartoons and becoming a ‘cultural institution’ in the process. The opening attracted people from a variety of walks of life including politicians who have often been satirized by Michael. Unable to get close enough to score a glass of chardonnay or hear the proceedings, the ACA members in attendance were relegated to the footpath where they stood with good humour - their grubby, winsome faces pressed against the window.

“While some journalists might spend thousands of words exploring the ins and outs of the rich and famous, our appointee can capture the essence of the story in one satirical blow - all with the help of his trusty art pens and, for the past 30 years, a furry little dog who became instantly famous by urinating in his first ever appearance in the media". Michael was surprised by the inauguration into the Hall of Fame, which he mistakenly thought was something about a walking frame, having never sought recognition by entering awards. “I only enter the Stanleys”, Michael said, “..it was out of the blue, so the recognition is good from that point of view”. 16

Dave Allen and Don Hatcher blocking the footpath in front of the Gallery

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�� 1. The Mailey Cricket Cartoon Awards are open to anyone over the age of 18. Entry to the awards will be taken as an agreement to accept the conditions of the rules as well as the resolution of the judges. The decisions of the judges will be final and no correspondence will be entered into.

5. By participating in the competition all entrants agree that all cartoons received will be donated to the Bradman Foundation to assist in raising funds for the Foundation or an associated charity. The cartoons may be exhibited and reproduced in a catalogue or similar, onto post cards etc. at the Foundation’s discretion anytime in the future for sale through the Bradman Museum.

2. Cartoons must be originals and may be either colour or black & white. Suggested size of cartoon entries is A4 (210mm x 297mm) but oversized entries will be accepted. Please do not frame entries.

6. All exhibited cartoonists will receive a gratis copy of the exhibition catalogue if published.

3. There are no restrictions on the number of entries submitted and entries may have been published or unpublished. All cartoons submitted must be clearly labeled with the artist’s name, address, telephone number and email address.

7. The Bradman Foundation and the Australian Cartoonists’ Association will appoint judges for the competition. Judges will not be eligible to enter the competition. 8. Winners of the 2004 competition will be announced at the 20th Annual Stanley Awards on November 6th 2004. The Bradman Foundation will notify all finalists.

4. Entrants should pack their submissions securely and send them at their own expense to: THE MAILEYS The Bradman Museum PO Box 9994 Bowral. NSW 2576 Australia 17

In a Supanova first, a “pure” cartoonist was featured as a guest, ACA president James (Ginger Meggs) Kemsley, entertained fans with the history his long-running comic strip and of the Australian Cartoonists’ Association. His summary about Supanova; “I’m looking forward to being asked [to be a guest] again”.

An action packed weekend was enjoyed by over 7,000 fans of popular culture May 1 & 2 at the 2004 Supanova Expo in Sydney. Aficionados of sequential art and illustration were well looked after, proceedings officially beginning on April 29 with the Top Cow Marc Silvestri Masterclass at the Valhalla Cinema, Glebe, and ending, fittingly, with the same dedicated Silvestri sketching until an hour after the convention at Darling Harbour had closed on Sunday night. Fans were also treated to Brian Michael Bendis & Alex Maleev’s art classes on the Friday night. For those unfamiliar with the names, Bendis is currently the hottest writing ticket in the US comic-book industry, with titles such as the Ultimate SpiderMan, Ultimate X-Men, Alias, Powers, Secret Wars and the critically acclaimed, Daredevil to his credit list. The illustrative genius behind his words is Maleev. Their presence at Supanova was a fascinating insight into how these two creators work together.

Another exciting aspect of the convention is always walking down Artists’ Alley to view the work the keenest and most enthusiastic self-publishing creators have concocted for the event. This year was no exception with a interesting mix of zines, comics and Manga inspired work. The number of Alley attendees influenced by Manga was also an interesting insight into the growth of this form of artistic expression and the cultural emphases that it brings. Without doubt it’s something worth watching in the future.

Brian Michael Bendis and Alex Maleev

International guests were joined by local artists David Yardin (District X for Marvel) and Jon Sommariva (Go Boy 7 for Dark Horse) both of whom have recently broken into the US market, as well as fan favourites Dillon (Batrisha) Naylor, Jason (Hairbutt the Hippo) Paulos, Darren (Killeroo) Close and two Aussie publishers who are beginning the make forays into the local and international comic community, Phosphorescent Comics and Cult Fiction Comics Australia.

Marc Silvestri

SUPANOVA 2004! - SYDNEY

Besides the strictly artistic bent of the Expo, there were also many great guests to meet and chat with including David (Kung Fu & Kill Bill) Carradine, George (Star Trek) Takei and four time Oscar-winner Richard (Lord of the Rings) Taylor from New Zealand’s WETA Workshop. A great weekend was had by all and sundry with the focus now shifting to the next scheduled Supanova:

September 18 & 19 in the Walter Burnett Building at the RNA Showgrounds, Brisbane, Queensland. For more details visit: www.supanova.com.au

Daniel Zachariou is the Event Director of Supanova Expo

Places, People, Politics - An Anthology

20th Century Western Australian Cartoonists and their Artistic Works Cartoonists have been involved in a “bitter-sweet” Already many well-known artists have indicated works for exhibition, please contact Phil Faigen repartee with politicians and notable members of their willingness to provide work and participate urgently and let him know. The exhibition will be the public ever since the printing press came into including Alan Langoulant, Paul Rigby, Sean at the Constitutional Centre in West Perth from being. However, most members of the public are Leahy, Mike Jones, Dean Alston and many 15th - 24th October 2004. You may contact Phil on: not aware that cartoonists are artists first and others. Already many pieces are at hand, others are being organised, the final collection may not T (08) 9316 3025 M 0413 757 885 foremost and use cartooning as an be known until the artists involved (or their e-mail: faigen@allpointsbuilding.com.au extension of their talents. Cartoonists are families) can make their final selection. P.O. Box 757 Applecross, WA 6953 A public exhibition to demonstrate the artists first artistic talents of West Australians who Many artists/cartoonists have have practised as cartoonists in Western Australia taken their talents overseas (Canada, from 1900 - 2000 will occur in October 2004 so as U.K., U.S.A. and to the eastern states. to showcase the history, Most have already been located and have heritage and achievements offered to contribute. of their work. The works The anthology will present not only chosen will reflect the their cartoons but other works such as advancement and changes portraits, water colours, oils caricatures to artistic styles through printed works (books) in such a way as to the turn of the 19th/20th respond to the criteria set for WA's 175th century, the pre-war times anniversary. and into the vibrant times If you practiced in WA in the period of the 50’s and 60’s to between 1900 - 2000 or know of anyone where we have arrived in who did and would be willing to offer the current era. "Honest, Dear! I thought it was some kind of harvester!"

Fred Harfery

Clive Gordon

Douglas Edward Tainsh 1921 - 2004

Vale

Bruce Cavalier 1931 - 2004

I suspect that most artists, writers, poets and suchlike are to some degree eccentric, or, put another way, intelligent, interesting, and a delight to know. I found Cav, as he was affectionately known, to be such. On our first meeting I took to this small, bearded, smartly dressed, vital personality with his deer-stalker hat, brightly coloured bow tie, and witty personality to match. It took me no time to recognize Cav as an artist of quality who had studied his craft under William Dargie at the National Gallery in Melbourne. Bruce was born in Perth in 1931 and was educated at Haileybury, having won a scholarship to that college. Cav, when young, was a choir boy in that fine custom following on from those other wonderful artists Noel Counihan and Bill (Weg) Green, both of whom wore the cassock and surplice. Cav entered journalism as a copy boy on the staff of The Herald where he formed a lifelong friendship with Weg, to whom he supplied joke ideas unfailingly when Weg, on occasions, had artist’s block. During the mid 1950s Cav sailed on (I think) the Orient liner Otranto to London. There, he immediately submitted his joke cartoons to Punch, where his work was frequently published, together with other Fleet Street publications. For a time Cav was cartooning for the Sunday Observer newspaper. And in London Cav was a founding member of the British Cartoonists’ Club. One can imagine his joy travelling on an ocean liner, for he was keenly interested in passenger ships, and was an expert authority on the Titanic. Such was his keen interest in ships that only a few weeks ago when the QE2 was berthed at Port Melbourne, Cav, ill as he then was, bravely visited the ship in fond remembrance of when he and his devoted friend Margaret sailed on the QE2 a few years ago. Modern jazz and its exponents were among his other interests. It is, I think, not widely known that besides being a successful professional cartoonist, Bruce was a surprisingly talented painter of watercolours and oil paintings. Despite his sometimes raucous, but always funny story telling, with which he could command the attention of a group, Cav was a model person who never bragged or even spoke about this other significant aspect of his creative self. Bruce Cavalier belonged to the old school of traditional, classical drawing, and had no patience, or respect, for those published doodlers and scribblers who could not draw. As with many of us cartoonists, Cav lived and worked at the very end of a period seemingly now passed, when sound drawing and attention to its principles mattered. Cav was a distinguished part of that period. He was a loyal member of the Australian Cartoonists’ Association, and his passing leaves a huge void in our ranks.

On a miserably cold night during 1941 at the Ballarat showgrounds, on a vast concrete floor a train load of rookie soldiers were stuffing large Hessian sacks with straw for mattresses. Next to me a young lad, having finished his, sat on it, produced a trumpet and after a few riffs, to the surprise of most, nonchalantly played some traditional Dixieland jazz. This was my introduction to Douglas Edward Tainsh. From here I was drafted to Darwin, incidentally just in time for the first of ninety-odd Japanese bombing raids. Doug was sent to New Guinea as a signals wireless operator and mercifully we survived to be again mates with our common interest in cartooning after the fighting in 1945. Doug born in Sydney, studied painting at the National Art Gallery in Melbourne, drew cartoons in England for Punch, Everybodys, The Strand, Lilliput and, back in Australia he drew for the Melbourne Argus newspaper and the national magazine Australasian Post. After various jobs around shearing sheds, contract fencing and clearing in the Australian outback, Doug, for twenty years also wrote over 200 documentaries and films for television. These included “Homicide”, “Matlock Police”, “Division Four” and “Hunter” among others. During this period he had been a movie cameraman, film editor, art director, film director, and of course script writer. During the national awareness revolution in the 1950s when Australia was being re-discovered – or put another way, 'aspects of our broad culture were being examined seriously' and for the first time, cartoonist Doug Tainsh and writer Alan Marshall collaborated to produce a humorous Australian folklore strip “Speewah Jack” for publication in the Melbourne Argus newspaper. This daily feature was a phenomenal success, indeed it was to be twenty-five years before another Australian stript of this quality appeared as Arthur Horner’s “Colonel Pewter” in “The Pukka Ashes” for the Melbourne Age newspaper. Doug created his itinerant swaggie “Cedric” and his dog “Digger”, a single panel cartoon which was first published in 1952 and continued weekly for forty-five years in the Australasian Post magazine. Failing eyesight forced Doug to relinquish “Cedric” to his nephew Joff Manders who continued this feature, Doug supplying the joke lines and situation, right up until the demise of Post in 2002. Doug Tainsh, Eric Jolliffe an Ken Maynard were the last of a school to celebrate in their work our rural origins we know today as “The Australian Legend” – Doug was, and remains, a significant link. - Vane Lindesay

Vane Lindesay is the ACA’s longest serving Vice-president (NT/VIC) and a recipient of the Silver Stanley for Contribution to Australian Cartooning, (now the Jim Russell Award). A prolific author among his many books is the definitive work on Australian black & white art “The Inked-In Image.”

- Vane Lindesay

NEWS FROM THE BUNKER BUNKER CARTOON GALLERY, COFFS HARBOUR

Hi Cartoonists, a quick note from the Bunker Cartoon Gallery. So much has unfolded since the last Inkspot and so much more lies ahead. Leunig Animated has attracted many visitors to the Bunker with the result that the sturdy office door separating this computer from the gallery space is no longer kept ajar. The frequent peals of laughter punctuated by prolonged wistful sighs were proving too much of a distraction to staff chipping away in the back office.

from the Bunker’s substantial collections that will be hung on the gallery’s western walls. Fashionista, installed in the Eastern gallery space, will showcase the work of young TAFE fashion designers, from design inception to completed garment, with all works inspired by a cartoon theme. Donald Duck and his ilk have been banished from this show to be replaced by variants of anime, manga, tank grrl and hello kitty. This is a very youthful exhibition, devised to bring a younger audience to the Bunker and encourage younger artists to keep on cartooning. Work by illustrator Dee Texidor and cartoons by local artist Richard Newcombe will also be installed to take the ‘micky’ out of fashion.

Richard Newbombe

Leunig’s sweet-faced characters also recently exercised their charm at Coffs Harbour’s inaugural Poetry Slam held here at the Bunker. For those who have not attended a Slam, the event involves gathering together as many people as possible in one room, presenting them with a glass of wine and a pencil, allowing them to view the exhibitions, then giving all participants ten minutes to write a poem based on a predetermined theme related to the exhibition. Nearly 40 people attended the Slam, including an entire table of English teachers who smuggled in their own alcohol and anthologies in order to plagiarise the classics. (a ploy highly regarded by the management) Slamming continued until the late hours with table after table of aspiring poets performing their works, which ranged from utter doggerel to saucy limericks and scintillating sonnets. The catch was that each ‘work’ had to be less than one minute’s duration. Alas gentle reader, censorship laws prevent Inkspot from publishing material inspired by the theme of ‘Leunig’s Duck’, but you can imagine. The success of the Slam means that others will be held to coincide with each exhibition. Everyone is welcome, so should you be in town for the next Slam….

Richard Newcombe is a recent émigré to Coffs Harbour. Richard previously lived in Brisbane where he was kept busy as a graphic designer/ sign writer, an occupation that honed his skills but which left little time for his cartoon work. His range of light hearted greeting cards are available in the Bunker’s foyer gift shop and several of his cartoons will be displayed during Fashionista. As readers of Inkspot will testify, breaking into the world of cartooning isn’t easy, but Richard’s talent and drive will, I am sure, see his star rise before too long. His furry tales comic strip can be viewed on his website www.aardvarkpro.com.au If you get a chance, have a close look at both these cute critters and Richard’s cartoons. While the Bunker Cartoon Gallery is determined to promote emerging cartoonists it also has a duty of care to promote the work of established cartoonists. Lindsay Foyle, well-known cartoonist for the Australian (and all round nice guy) will be exhibiting recent work at the Bunker in late June. Forty works will be hung and many originals will be for sale. Planning is already well underway for an exciting and novel opening night. Lindsay has kindly agreed to host a Pictionary evening with a difference for the Gallery

Guests take part in Coffs Harbour’s inaugural Poetry Slam at the Bunker

The departure of Leunig Animated in mid June will be followed by the installation of two discrete exhibitions, Mining the Archives and Fashionista. Mining the Archives will see the installation of many hilarious cartoons garnered 20

Cont'd. from Page 20 following the opening of his exhibition on 12 June 2004. This event is bound to attract many people with drawing skills as well as those who (like myself), struggle with the stick man school of art. As games go Pictionary is an extreme sport for those who love to laugh, regardless of their level of artistic ability. The artistically challenged as well as the gifted will be made very welcome. It is hoped that many established Australian cartoonists will also enjoy a ‘featured artist’ space at the gallery over the next three years. Please contact me if you would like to be a featured artist as there are still spots available in the exhibition calendar for this and next year. This brings me to put out a call for help. I would like to install a major exhibition at the Bunker Cartoon Gallery in 2005 that looks at the history of the comic strip. I’m hoping that cartoonists who collect strips may loan them to the gallery for a 3-month period. At this stage I’m not sure how much original material is out there. Perhaps you could let me know if you have access to original strips and would consider loaning them to the Bunker? If so please give me a call on 6651 7343 or send me an email on bunkergallery@bigpond.com Finally the Rotary National Cartoon Competition is nigh. Would readers be so kind as to urge all friends and colleagues to submit their work? The Bunker will exhibit entries for more than three months, giving wonderful exposure to the genre as well as to individual cartoonists. See page 21 for details or visit the snappy new website at www.rotarycartoonawards.com.au/default.asp Look forward to seeing you at the Bunker Cartoon Gallery soon.

update VISCOPY’s December 2003 distribution returned over $145,800 to Australian visual artists, a 24% increase on our June 2003 distribution. Over $263,000 in royalties has been paid to Australian artists over the last 12 months. 22% of royalties from this distribution was paid to indigenous artists, a 40% increase on the June 2003 figure. As of March 2004, VISCOPY’s membership grew to over 4,300, a 30% increase from June 2003. Australian Artists* $145,837 International Artists $74, 520 *Includes $32,110 to Aboriginal and Torres Strait Islander (ATSI) members.

Percentage per territory Australia 66% United Kingdom 14% France 9% USA 7% Germany 2% Other territories 2% These figures represent the combined distribution of primary and statutory royalties. Statutory royalties to Australian artists from educational copying accounted for 13.5% of the total payout, amounting to over $19,700. 221 VISCOPY members received income from educational copying done under “statutory licences”.

Dr Leigh Summers Curator Administrator Bunker Cartoon Gallery

specifically address identified areas where cartoons and media art can make a positive impact on readership or income of newspapers. It is a recognised fact that if we wish to be taken seriously any message we do attempt to bring to Editors needs to be backed up with statistical information and research. This information we hope to gather through the Club's associations and connections within the Cartooning industry both here and overseas.

PANPA

PACIFIC AREA NEWSPAPER PUBLISHERS' ASSOCIATION

September 6-8 The annual Panpa Conference is being held in Sydney. Planning is underway to see the Club have a presence in this event as we did last year. As a part of the preparation towards this event it has also be planned to submit articles to the Panpa Magazine which now goes out monthly to the hundreds of Editors and Newspaper industry members. These articles will be designed to prepare the ground and mirror the message we hope to bring to the conference. Several topics have been discussed and the single message is yet to be decided. Generally speaking the topic and theme chosen will be aimed to

Any members that believe they have information that may be of interest, please send it by post or email to the Club Secretary marked ‘Panpa Commitee’ ~ Gary Clark The ACA is an associate member of the Pacific Area Newspaper Publishers’ Association. Gary Clark is Queensland vice-president and the ACA Board’s PANPA liaison officer. 21

Swagmen studied by Aliens!

‘Where is the Green Sheep?’ by Mem Fox and Judy Horacek was launched by Mark Latham on Monday 31st May at the Helen Maxwell Gallery in Braddon

Rolf Heimann has written and illustrated ‘Mission Embarassing’ a childrens book now being published by Lothian. A school class from a distant galaxy visits earth to study what makes humans tick. They are intrigued by the phenomenon ‘embarrassment’, and disguised as swagmen they try their best to embarrass the locals, just to study their reactions. In the end the visitors themselves experience what embarrassment is all about.

Join Mem and Judy on a search for the green sheep, in this stylish, funny, illustrated picture book. It will charm both parents and children with its carefully chosen text and wonderful illustrations.

Judy Horac ek and Me m Fox signing book s at the launc h

FECO Federation of Cartoonists Organisations

www.fecoweb.org

Victorian cartoonists had a great outing on April 14th to one of their state’s regional centres, Castlemaine. The art gallery of that historic town has an interesting collection of original cartoons, including works by Norman Lindsay, Phil May and Percy Leason. The cartoonists showed their thanks for a special tour by donating some of their own work and the gallery now posseses some modern cartoons as well, by Vane Lindesay, WEG (Bill Green), George Haddon and others. The director of the gallery, Peter Perry, has a special interest in cartoons and by allowing the visitors a look behind the scenes, cartoonists had a chance to gain some insights into matters of acqusition, conservation etc. Over lunch in one of Castlemaine’s pleasant restaurants everyone agreed that the day was a total success. Thanks to Vane Lindesay for organising it!

THE 23RD ST JUST- LE-MARTEL CARTOON FESTIVAL will take place in the picturesque French village between September 25th and October 3rd. The organizers arrange transport between Paris and St Just and accommodation with local family. For details contact Salon International du dessin de presse et d’humour Tel + 33 (05) 5509 2670 Fax + 33 (05) 5509 2633 email: salon.humour@wanadoo.fr URL: http://st-just.com In the past ACAers Rolf Heinmann, David Rowe and James Kemsley have attended what has become Europe’s premier cartoon event.

4th International CaRTOON Contest "Independence" Kiev, Ukraine THEME: Independence and Terrorism DEADLINE: 20th JULY 2004 PRIZES: USD $500; USD $400; USD $300 MAXIMUM NUMBER OF ENTRIES: 3 For more information, visit the website at: http://www.cartoon.org.ua

United Nations, New York, USA THEME: To cover work done in the year 2004, reflecting the importance of human dignity, mutual respect and friendship

ACA Members can keep up-to-date with the latest

among nations, as well as economic and environmental

competition and exhibition news by visiting the FECO website

responsibilities towards each other.

DEADLINE: 1 SEPTEMBER 2004 PRIZES: $10,000; $5,000; $3,000 + 10 plaques MAXIMUM NUMBER OF ENTRIES: 2 For more information, visit: http://lurieunaward.com

at www.fecoweb.org To access the members-only pages that list the competitions, you will need to enter the username "fecocontests" and the password "andyslist"

COOLAC FESTIVAL OF FUN

BALD ARCHY PEOPLE’S CHOICE

"I'll eat you in the end" by Xavier Ghazi

A painting of the Opposition Leader, Mark Latham, entitled “Young Mark’s Big Career”, by Tony Sowersby of Seaford, Victoria, has been voted the People’s Choice in the 2004 Bald Archy Prize. Reminiscent of an illustration from ‘Boy’s Own Journal’, the picture is dominated by a rather feckless Latham at the wheel of a Dodgem-style car accompanied by passengers Carmen Lawrence, looking somewhat forgetful, and Kevin Rudd, studiously reading a children’s book. Sprawled on the road, a victim of road rage, is Kim Beazely, and to one side Abbot and Costello look on from their ageing Holden. Further down the road, John Howard poses for photographers with a cricketer and a soldier, while a dazed taxi driver is left far behind in the background. “Tony Sowersby is a regular exhibitor in the Bald Archy,” said Peter Batey, the Director of the Coolac Festival Of Fun, from whence the highly popular competition emanates, “and while there is no People’s Choice prize for the artist, it is all part of the fun. This picture has an appropriate naive, almost juvenile, painting style to it. His portraits have always been popular and have sold for very good prices.” Close on the heels of the Latham portrait was Xavier Ghazi’s $5,000 winning portrait of Rupert Murdoch, entitled “I’ll Eat You In The End”, not many votes behind in second place. The announcement some weeks ago of this picture as winner of the 2004 Bald Archy Prize gained worldwide press interest. The Bald Archy is the alternative fun competition to the Archibald Prize, sponsored by Shield Mercantile.This year’s exhibition was held at The Living Art Gallery in Chippendale. Peter Batey may be contacted on Mob: 0439 672 213 Tony Sowersby: (03) 9786 0131

"Young Mark's Big Career" by Tony Sowersby of Seaford, Victoria - voted the Peoples' Choice in the 2004 Bald Archy Prize

CHINA CALLING! t

The 6th World Comics Summit in China, which had been cancelled last year due to SARS, is now taking place in Beijing in mid-October. Rolf Heimann, who took part in the preparatory conference, will be travelling again to China for that event. Fellow cartoonists (or other interested parties) who might consider coming along, may contact Rolf on heimann@primus.com.au or (03) 9699 4858. Group travel may be cheaper. Here are the exhibition requests: Theme: “National Characteristics” Submission Expiration Date: July 31st 2004 Original works only. Computer designs considered as originals. 4 artworks per artist. Size: A4 or B4. Further info through e-mail:china_mh@sohu.com or contact Rolf.

PULITZER PRIZE FOR CARTOONING The Editorial cartoonist of the Journal News of White Plains, NY Matt Davies, has been awarded the 2004 Pulitzer Prize for cartooning ahead of finalists “Doonesbury” creator Gary Trudeau and Minneapolis Star Tribune cartoonist, Steve Sack. Davies’ winning portfolio can be seen on http://www.thejournalnews.com/davies/ In March Davies, 37, an Englishman who moved to the US, was named the first recipient of the $US10,000 Herblock Prize for editorial cartooning from a field of 64 entrants.The Pulitzer also carried $US10,000 prize money. 23

Fellow freelancers Steve Panozzo and Brett Bower, tired of flicking jobs to each other on a seemingly continual basis, have decided to form a partnership called Dial a Cartoonist, providing new and existing clients “double the trouble”. A big part of the drawing duo’s enterprise is the recently-revamped Luna Park Sydney, where they have established a “Cartoon Shop”. Luna Park’s visitors get to take home a unique souvenir and the boys bemusedly find themselves with the equivalent of a steady job. For any enquiries, phone (02) 9589 4717 or visit: www.dialacartoonist.com.au

Brett Bower (left) and Steve Panozzo (right) hard at work at their new Luna Park "Cartoon Shop"

The Art of Charity BELOW

The Art of Charity

Following a resolution at the 2003 AGM for the ACA to “adopt” a charity on an annual basis and, in the eight months since Ettalong, having received varied submissions from members, the Board has chosen the Asthma Foundation as that charity until 2005. After lengthy discussions the Board agreed the Asthma Foundation was an organization worthy to be the focus of the Association’s attention and support. The support will be in the form of an annual fund-raising exhibition of members’ work as well as a percentage of money raised via the “traditional” auction at the Stanleys awards dinner and presentations. The Board felt that since it has taken longer than expected to work out the logistics associated with the “adoption”, it was appropriate to have the agreement in place for until 2005. Prior to the 2005 AGM suggestions will be called for from the membership and another charity selected for a twelve month period.

THE BELT Photo: David Pope

ACA E-Mag

Christophe Granet and Luke Fox are busily putting together the next Emag edition for ACA members only. If you have a cartoon and would like to contribute please send your artistic flair to: ACAemag@hotmail.com

John Jensen Online

Australian Financial Review cartoonist and head Sculpey trainer David Rowe unveiled his latest heavyweight talent during the Canberra bout of Behind the Lines, the National Museum of Australia’s political cartooning exhibition. Behind the Lines is slugging it out in Canberra until the end of June, before travelling to the Constitutional Centre of WA in Perth (9 July to 31 August), and the Library and Office of the Legislative Assembly in Darwin (10 September to 14 October). The exhibition can also be viewed online at http://www.nma.gov.au/exhibitions/

Ex-pat Aussie scribbler, the legendary John Jensen, has finally been set upon by the electronic age. The London-based cartooning master’s art can now be viewed on-line at: www.johnjensen.co.uk If you know Jensen’s work the site is a treat for surfing eyes, for those who don’t, do yourself a favour and log on.

Big Brothers

Steve Panozzo and Brett Bower are the official cartoonists for Big Brother! Southern Star Endemol, who produce the series, asked the guys to create caricatures of all 14 “housemates”. Viewers of Big Brother Up Late take part in a competition to win a signed caricature of each housemate as they get “evicted”.

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